Nicolas Winding Refn Reflects on Creating ‘Her Private Hell’ After Facing Life’s Challenges

Renowned filmmaker Nicolas Winding Refn returns to the Cannes Film Festival with his latest venture, Her Private Hell, marking his first film in a decade since the critically acclaimed Neon Demon, which starred Elle Fanning. The new film draws a parallel to the fashion-focused aesthetic of its predecessor. Set in a glamorous hotel within a futuristic city reminiscent of Los Angeles, it features a group of model-like women—including Sophie Thatcher, Kristine Froseth, and Havana Rose Liu—who are preparing to shoot a sci-fi film reminiscent of Barbarella. However, lurking in the shadows is a deadly figure known as the Leather Man. True to Refn’s signature style, Her Private Hell is described as a psychedelic exploration of the nighttime world, infused with humor and camp.

DEADLINE: Hearing Pino Donaggio’s score, Her Private Hell transports one back to the thrillers of the 1960s. Tell us about the inspirations.

NICHOLAS WINDING REFN: I can’t pinpoint a singular inspiration; it’s a culmination of experiences. Three years ago, I died and was clinically dead for 20 minutes. Facing the prospect of dying within two weeks, I felt a mix of fear, anger, and sadness. However, I ultimately recognized it as a gift—a second chance. Most people don’t get that opportunity, and I came back with a renewed sense of purpose and knowledge. I realized I wanted to make films again, driven by instinct.

The film, for me, encompasses horror, sci-fi, melodrama, musical elements, camp, kitsch, and action, all woven together in an intricate tapestry. It’s a thrilling experience.

DEADLINE: Were you dying from a heart-related issue?

REFN: Yes, I had a leaking heart, which poetically meant the blood was flowing backward. It felt like a mechanical failure imposed by fate, arriving at a point when I had reached the end of my first act.

Coming back allowed me to change and reevaluate my life in ways I hadn’t anticipated. It’s made me consider how we perceive time and how fleeting it is. Ultimately, how much time do we truly have left?

DEADLINE: Her Private Hell evolves constantly. Eliza Kazan advised you to do it your way, but did you ever learn about a three-act structure early on and rebel against it?

REFN: I never actually attended class; I dropped out of film school. As such, I never subscribed to that conventional framework. While I understand logistics, they don’t captivate me. There’s an interesting element to social media, where scrolling offers instant gratification and creates a narrative that, while nonsensical, can resonate personally based on one’s preferences.

Although Her Private Hell lacks a traditional three-act structure, it is designed to continually engage the viewer, prompting them to seek more until they reach their limit.

DEADLINE: Discuss the casting process. It seems you have assembled a fashion runway of diverse looks. What qualities do you seek in your actors? Do they need to be flexible and ready to adapt?

REFN: I look for versatility in my collaborators; actors are extensions of me. In this case, casting directors Nicole Daniels and Courtney Bright spent almost a year finding the right performers. Sophie Thatcher emerged late in the process, after months of searching. Once she was cast as Elle, it felt destined, particularly considering Elle Fanning’s significance in my life.

Sophie has a captivating presence on screen, reminiscent of classic film stars from the 1930s and ’40s, combining strength and a punk-inspired attitude. From there, we built the ensemble around her. Charles Melton caught my eye after my daughter introduced me to Riverdale, where I saw him embodying a 1950s-inspired character.

Casting Kristine Froseth required a delicate balance of seriousness and camp, and she embraced that challenge. Havana Rose Liu, as Elle’s stepmother, brought a boldness that powerfully defined the dynamic between the two characters.

DEADLINE: You met Pope Leo XIV. How did that come about?

REFN: The leaders of Rome’s Cinema Piccolo facilitated the meeting, and I felt honored to be selected. As a non-Catholic who had never visited the Vatican, I was uncertain of what to expect. I had two goals: to take a selfie with the Pope and to receive a message for my youngest daughter.

Though security was strict about cameras, I managed to capture a selfie including the Pope by sitting next to Monica Bellucci. When I finally met him, I asked for a message for my daughter. He responded with, “Tell her I said hello,” which I excitedly conveyed to her.

DEADLINE: Will we have to wait another decade for your next movie?

REFN: No, I am eager to make another film soon.

DEADLINE: Do you already have plans for the next project?

REFN: Yes, I have a clear vision for my next four years.